캐릭터 굿즈에 대한 태도와 구매 의도의 영향 요인 연구 : 우즈베키스탄 소비자를 중심으로

카미도바 파랑기스보누 계명대학교 대학원 2024 국내석사

Characters serve as visual symbols that show a brand’s personality and evoke positive emotions. Historically targeted at children, character-based goods have expanded their appeal to adults. This integrated favorite characters into daily life through various merchandise. The global character market is expanding, inspired by successful brands, and increasing consumer demand. The potential of this trend should be investigated in other regions, like Uzbekistan, where modernization initiatives and economic growth have made it a prospective market for character-based brands. This research investigates determinants of purchase intention of character goods among Uzbekistan consumers. Specifically, it is investigated whether these character features (i.e., dynamism, familiarity, similarity, and attractiveness) influence positively on attitude toward characters and the fit of characters to goods. It is more investigated to find out the influence of attitude toward characters and fit of characters to goods on the purchase intention of character goods. By focusing on brands like Muzik Tiger, Scottie Friends, and Bluugis, this study aims to provide practical insights for companies looking to use character-based products in Uzbekistan. A structured survey was conducted online with 250 adult participants aged 18 and above in Uzbekistan. The survey included images of characters from Muzik Tiger, Scottie Friends, and Bluugis, chosen based on their recognition and appeal. Participants rated these characters on a 5-point Likert scale across various character features attitude toward characters, fit of characters to goods, and purchase intention of character goods. The analysis revealed that familiarity and attractiveness positively influenced attitude toward characters, while dynamism did not. Similarity negatively influenced attitude toward characters. Similarity refers to the similarity between the real object and the character, and it can be interpreted that there are groups of consumers who prefer similarity with the real object and want to project themselves into the character, while groups of consumers from other cultures prefer this by projecting the ideal object onto the character rather than being real. Dynamic feature is considered to be a major characteristic in which preferences can vary depending on cultures. On the other hands, familiarity, attractiveness, and dynamism features positively influenced the fit of characters to goods, while similarity feature negatively influenced the the fit of characters to goods. Both attitude toward characters and fit of characters to goods positively affected the purchase intention of character goods. This result suggests that character features can have different effects depending on the target consumer group. In particular, since consumer values and perspectives on objects change depending on country, region, religion, culture, etc., consumer behavior research on various markets is needed in relation to character product business. These results suggest that dynamic, familiar, attractive characters as well as the characters similar to the ideal self rather than the real self can improve Uzbekistan's consumer response and promote the sale of character goods in Uzbekistan. These insights can be applied to various industries and emphasize the importance of character selection and feature optimization by culture. These insights can be extended to various industries, emphasizing the importance of character selection, and can be applied to a variety of businesses. Through these findings, marketers and character designers targeting Uzbekistan, focusing on creating idealistic qualities and matching them with goods on the market, can increase consumer purchase intention. Future studies could explore the impact of other character features, such as nostalgia or cultural relevance, on consumer behavior. Expanding the demographic focus and conducting long-term studies could provide deeper insights into how character preferences change over time and influence purchase intention. 캐릭터는 브랜드의 개성을 상징하고 긍정적인 감정을 불러일으키는 강력한 시각적 상징으로 작용한다. 역사적으로 어린이를 대상으로 개발되었던 캐릭터 기반 상품은 이제 성인에게도 인기를 끌며 소비자군을 형성한다. 오늘날 일상생활에서 다양한 캐릭터 상품을 통해 좋아하는 캐릭터를 쉽게 접하게 되었으며, 캐릭터 비즈니스에서 성공적인 브랜드의 수요에 힘입어 캐릭터 시장이 날로 성장하고 있다. 이 추세는 경제 성장과 현대화가 활발히 진행 중인 중앙아시아의 우즈베키스탄과 같은 다른 시장에서도 캐릭터 비즈니스의 잠재력을 탐구할 필요성을 상기시킨다. 이 연구에서는 우즈베키스탄 소비자들을 대상으로 주요 캐릭터 특성(역동성, 친숙성, 유사성, 매력성)이 캐릭터에 대한 태도, 캐릭터의 상품에 대한 적합도, 그리고 캐릭터를 사용한 상품의 구매 의도에 미치는 영향을 조사한다. Muzik Tiger, Scottie Friends, Bluugis 등 세 가지 캐릭터 자극물을 사용하여 캐릭터 상품의 구매의도 결정요인을 파악하고자 한다. 이 연구는 다음과 같은 목적을 가진다. 첫째, 캐릭터 특성이 캐릭터에 대한 태도에 미치는 영향을 평가한다. 둘째, 캐릭터 특성이 캐릭터의 상품에 대한 적합도에 미치는 영향을 조사한다. 셋째, 캐릭터에 대한 태도와 캐릭터의 상품에 대한 적합도가 캐릭터를 사용한 상품의 구매 의도에 미치는 영향을 확인한다. 우즈베키스탄에서 18세 이상의 성인 250명을 대상으로 온라인 설문조사를 실시하였다. 설문지에는 사전조사를 통해 선택된 Muzik Tiger, Scottie Friends, Bluugis의 캐릭터 이미지가 포함되었으며, 참가자들은 5점 척도를 사용하여 역동성, 친숙성, 유사성과 매력성, 캐릭터에 대한 태도, 캐릭터의 상품에 대한 적합도, 캐릭터를 사용한 상품의 구매 의도와 같은 다양한 차원에서 이 캐릭터들을 평가했다. 분석 결과에 따르면, 친숙성과 매력성이 캐릭터에 대한 태도에 유의미한 긍정적인 영향을 미치는 반면, 역동성은 어떤 영향도 미치지 않았으며, 유사성은 캐릭터에 대한 태도에 오히려 부정적인 영향을 미치는 것으로 나타났다. 유사성은 실제 대상과 캐릭터간의 유사성을 의미하는데, 실제 대상과의 유사성을 선호하여 자신을 캐릭터에 투영하기를 원하는 소비자군이 있는 반면, 다른 문화의 소비자군들은 실제적이기보다는 이상적 대상을 캐릭터에 투영하여 이를 선호한다고 해석할 수 있다. 역동성은 문화권에 따라 선호가 달라질 수 있는 주요 특성인 것으로 여겨진다. 한편 역동성, 친숙성과 매력성과 같은 캐릭터 특징은 상품과의 적합도에 긍정적인 영향을 미쳤으나, 유사성은 상품과의 적합도에 부정적인 영향을 미쳤다. 또한 캐릭터에 대한 태도와 캐릭터 상품에 대한 적합도는 모두 캐릭터를 사용한 상품의 구매 의도에 긍정적인 영향을 미쳤다. 이 결과는 캐릭터의 특징은 대상 소비자군에 따라 다른 영향을 줄 수 있다는 점을 시사한다. 특히, 나라, 지역, 종교, 문화 등에 따라 소비자의 가치관이나 사물에 대한 관점이 달라지므로, 캐릭터 상품 비즈니스와 관련하여 다양한 시장에 대한 소비자 행동 연구가 필요하다. 이러한 결과는 역동적이고, 친숙하며, 매력적이고, 실제적이기보다는 이상적 자아와 유사한 캐릭터를 전략적으로 활용하면 우즈베키스탄 소비자 반응을 향상시키고, 우즈베키스탄에서 캐릭터 상품 판매를 촉진할 수 있음을 시사한다. 이러한 통찰은 다양한 산업에 적용될 수 있으며, 문화권별로 캐릭터 선택과 특징 최적화의 중요성을 강조한다. 우즈베키스탄을 타겟으로 하는 마케터와 캐릭터 디자이너는 이상적인 특성을 구현하는 캐릭터를 만들고 이를 상품과 연계하여 소비자 참여를 높이고 구매 의도를 증가시킬 수 있을 것이다. 향후 연구에서는 문화적 관련성과 같은 추가적인 캐릭터 특징이 소비자 행동에 미치는 영향을 탐구할 수 있다. 인구 통계적 범위를 확장하고 종단 연구를 포함하면 캐릭터 선호도가 시간에 따라 어떻게 진화하고 장기적인 소비자 충성도에 영향을 미치는지에 대한 깊은 통찰을 제공할 수 있을 것이다.

현대 캐릭터의 디자인 양상과 속성에 따른 사회적 영향력 연구 : 한·미·일 유명 캐릭터를 중심으로

이은정 부경대학교 2023 국내석사

壬辰錄의 인물 연구

김형준 조선대학교 교육대학원 1993 국내석사

This study analyzed characters, diving them into active, collated and animous ones accoting to their roles m the novels, ad dividing them into historical and fictional ones according to whether they existed or not in history, based on <Kyong-pan version>, <Journal of hyk-yong>, <the Korean version of national museum>, <Version of Lee Nyng-woo> and <Version of Kyoen Ryung-chol>. Watching the characters version by version, the characters in <Kyong-pan version> and <Journal of hyk-yong>, which are comparable faithful to historical facts, are mostly actual ones while the ones in <the Korean version of national museum>, <Version of Lee Nyng-woo> and <Version of Kyoen Ryung-chol>. Watching the characters version by version, the characters in <Kyong-pan version> and <Journal of hyk-yong>, which are compable faithful to historical facts, are mostly actual ones while the ones in <the Korean version of national museum>, <Version of Lee Nyng-woo> and <Version of Kyoen Ryung-chol> are mosty fictional. This is an important clue to knowing who is the class of writers or readers. It seems that <Kyong-pan version> and <Journal of hyk-yong>, which are faithful to history, are enjoryed by the intelligent or high-status people while others are by the common people. Comparing the characters according to whether they are historically existent or not, most characters are actual ones, providing readers with interests and nonfictional realness. Fictional characters, which are mostly for role of supporting actual ones, are entitled with officery, making readers feel them real existence. They are mostly positive because they are created by common people. The actual characters in "Imjinrok" are presented in a bigger scale or smaller in the process of fictionalization by common people. The actions of well-known characters to the commons are reduced while in case of the characters who are not able to exert their abilities and exposed to, sacrifices because of social absurdity, their actions are extended to their abilities. It tells the will of participation in a new creation of history by common people, showing critique of absurd society and resistance to rulers by common people. The characters in "Imjinrok" are classified as leading, collated and antagonistic ones according to their roles in the work. The leading ones are divded into two types, noble hero and popular hero types. The noble hero types, which includes Choi Il-kyong, shows life of a hero from birth to death like main characters in novels of collective talks. Choi Il-kyong, a man of loyalty and faithfulness for the country is the most ideal Sadaebu created by the populace who witnessed the inverterate party rivalry before imnam and the behaviors of spiritless and irresponsible Sadaebu. The populace present the ideal image of Sadaebu through Choi's behaviors and also urge reflections of exisiting Sadaebu through critique of them. Although popular heros play many an important role, thinking the historical difficulties of Imnan, they are killed by. the inability and unreasonable power of rulers. Heroes of this kind are represented by Kim Duk-rung, Kim Ung-suh and Samyungdang. Kim Duk-rung, a popular hero sacrificed by wrong authority, is a existence representing popular hope and spite, which are solved through the novel. Kim Ung-suh, a hero who kills himself on inability of rulers, is represented as a make of national spirit keeping the unchangeable loyalty to the end. The social consciousness brought by Kim Ung-suh's death reveals the will for a new history by people, with their realization of inability of rulers who try to conquer Janpnese pirtates without any Preparation, the loyalty in Kim Ung-suh's behaviors and the betrayal of Kang Hong-lim. Samyungdang, a monk of despised status, is emphasized as a popular and national hero, getting a surrender from a boss of Japanese pirates. It gives a severe criticism and punishment of the falsehood and absurdity of rulers through Samyungdang's behavior, showing animosity and winning spirit against Japanese pirates based on strong national consciousness. Collateral characters include several political rulers beginning from Sun-jo. They are also divided into positive and negative ones. Sun-jo is presented as an incomprtmt king, boing a negative character. He is a silly king lacking of ability of making positive judgements and establishing countermeasures, showing tears and finding sympathy from people. This means that Sun-jo is recognized as an incompetent man as a king by the populace, bringing decline of absolute power. Yn Sung-yong and Lee Hangbok are also presented as collateral characters. Although they embody an ideal loyalist of feudal society, showing exellent abilities, the affirmative view is not from them but from animosity against Myung and the national consciousness to overcome it. Because of that, they remain Collateral characters, who m always ready to flatter Myung rather than thinking of Winning enemies on their own. Hostill characters are divided into inner and outer ones. The inner hostill ones are existing Sadaebu and the outer are bosses of Japanese pirates and Lee Yuh-song, the saving commander of Myung. The bosses of Japanese pirates are described heroic, differently from the feelings of despise and animosity against Japan. Beyond that making heroes of them, however, there is another thought. The populace like to have national superiority in that they can Win strong enermies like Japan, with the thought of puting higher up the status of popular heroes fighting the pirates. Lee Yuh-song, a character representing the army of Myung, is used to describe the animosity and the popular antipathy of Myung. It is shown through the story of killing him, a predudice man who finds faults with other. The popular consciousness presented through Lee Yuh-song's behaviors is the national will of positive confrontion with enermies and winning them, showing national elitism and possibility. The existing Sadaebu is another enermy, meaning inner enermy to the populace. The antipathy of feudal rulere, who do not grasp the essence of national difficulties and try to do hatm to popular heroes, envyig them as their competiter, is shown through the punishment of Dongraebusa by Samyungdang. This is the popular antipathy and will to resist Sadaebu, showing already Withdrawn popular support for existing govement.

先秦文獻에 나타난 同源字 硏究

김선미 제주대학교 대학원 2012 국내석사

본 논문은 同源字에 관한 연구이다. 동원자란 음이 비슷하면서 뜻이 같거나, 음이 같으면서 뜻이 비슷한 글자를 말한다. 본 논문이 동원자를 토론하려는 주요목적은 동원자의 음운관계로부터 시작하여, 두 개의 글자, 혹은 그 이상의 글자가 의미방면으로 동원자임을 밝히고자 함이다. 동원자를 系聯함에 있어서 王力이《同源字典》에서 동원자로 제시한 일부 글자와 殷寄明의《漢語同源字詞叢考》를 근거로 하여, 추정 가능한 의미파생 상황을 살펴보고 동원자로 추정되는 글자들을 찾아보았다. 내용의 양이 방대하여 上古音에서 中古音으로 넘어갈 때 가장 두드러진 특징을 보이는 舌音과 脣音을 중심으로 이들 글자가 동원자임을 밝히고자 하였다. 아울러 그것의 예문을《詩經》에서 찾아 증명하였으며,《詩經》에 없는 예문은 비슷한 시기의 선진문헌에서 찾아 증명하였다. 본 논문이 채용한 上古 추정음은 李珍華ㆍ周長楫의《漢字古今音表》를 기준으로 삼았다. 본 논문의 글자들은 語音上으로 聲母에 있어서는 雙聲, 旁紐, 隣紐의 관계이었고, 韻部에 있어서는 疊韻, 對轉, 旁轉, 旁對轉, 通轉의 관계이었다. 그리고 意義上으로는 同義, 引申義, 假借義 등의 관계로, 모두 “音近義同” 혹은 “音同義近”으로 모두 同源字였다. 본 논문에서 살펴본 聲符는 語音 뿐만 아니라 뜻을 나타내는 기능도 있음을 알 수 있었고, 동일한 성부는 本義, 引伸義와 관계없이 여러 가지 다른 뜻을 나타낸다는 사실을 알 수 있었다. 또한 聲符義가 本義, 引伸義와는 다르지만, 聲符義는 聲符字가 지칭하는 사물의 성질, 특징을 반영한다는 것을 발견하였다. 종합해보면, 同源字는 語音이 같거나 유사한 문자 사이에는 상당 부분 의미상의 유사성을 갖고 있음을 알 수 있었고, 성부가 동원자의 파생과 밀접한 관계가 있음을 알 수 있었다. 또한 形聲字의 聲符가 의미와 관계없이 “소리”만 나타내기도 하므로, 성부가 같다고 반드시 동원자인 것은 아니며, 서로 자형은 완전히 다르지만 동원이기도 하였다. 그래서 동원자의 판단은 어음이 같거나 유사하면서, 공통된 의미자질을 공유하는가가 관건이며 성부가 이의 판단에 도움을 준다고 할 수 있다. The study conducted a research on cognate characters (同源字) that represent the same sound as another with the same or similar meaning. The main purpose of the study is to identify cognate characters in the semantic aspect by examining the phonemic relationship of words composed of two or more Chinese characters. The study examined semantic derivations of the suggested cognate characters in “Dictionary of Paronyms (同源字典)” authored by Wang Li (王力) and “Chinese Cognate Characters Textual Words (漢語同源字詞叢考)” authored by Yin Jiming (殷寄明) to identify cognate characters. Due to the enormous volume of contents, the study specified and focused on the lingual and labial sounds as they are the most distinctive characteristics found between the ancient and medieval phonology. The cited characters from the two sources were verified for their function as a cognate word by citing them in the phrases used for the same intent in “Shījīng(詩經), or the Book of Poetry (often translated as The Book of Odes or The Classics of Poetry), a collection of 305 poems written between 1000 and 600 B.C. (Baxter, 1992: 355). The study adopted the reconstructed pronunciation of the ancient Chinese characters based on the publication, “A Pronouncing Dictionary of Chinese Characters (漢字古今音表),” co-authored by Li Zhenhua (李珍華) and Zhou Changji (周長楫). Phonetically, the cited characters satisfied as forming one of the three correlativity criteria for the initials to include, double sounds (雙聲), subsequent-tie (旁紐), and parallel-tie (隣紐), while one of five correlativity criteria for the finals to include, alignment of vowel rhyme or assonance (疊韻), having the same nucleus and similar ending of rhyme (對轉), having a similar nucleus and the same ending (旁轉), or mixing the previous two ways of nucleus and ending of rhyme (旁對轉), and having the same vowel but in the different sound categories (通轉). In the aspect of semantic categorization, the characters revealed adopting a semantic expression of the three categories to include, synonym (同義), extended meanings of an expression (引申義), and borrowed meanings (假借義). Hence, all of the Chinese characters tested in the study revealed to be genuine cognate characters, as homophonic synonym, either having a similar sound but the same meaning (音近義同) or the same sound but a similar meaning (音同義近). The study also revealed that the vocal part of the characteristics contains not only the phonetic but also semantic functions, as well. Therefore, although the vocal part is identical, the characters represent a number of different meanings regardless of the type of correlativity criteria whether the characters are representing their original meanings (本義) or derived meanings (引伸義). In addition, in the case of the cognate characters that have a vocal part with a different meaning from their original or extended meaning, the study also found that the meaning of the vocal part still reflects on the nature and characteristics of the object indicated by the character consisted of the vocal part. In conclusion, the study revealed that the cognate Chinese characters show a significant semantic similarity when the characters share an identical pronunciation or similarity as a written character. The study also found that the vocal part has a close relationship in the derivations of cognate characters. The vocal part of certain morpheme-phonetic characters (形聲字) is semantically indifferent and irrelevant but represent a “sound,” which reveals that having the same vocal part does not necessarily verify that the corresponding character is a cognate one. Some of the characters were found as cognate character despite having a completely different written feature. Hence, the key criteria to verify the cognate property of Chinese characters should be whether they have the same or a similar pronunciation, and at the same time, whether they share the property of common meaning. The evaluation of the vocal part can be a supplementary tool for the verification of cognate qualification.

온라인게임 <몬스터 레전드>를 위한 몬스터 캐릭터의 디자인 개발

오락 대구대학교 2014 국내석사

Online games provide players with a chance to establish substitutes for themselves who are different with themselves in the real world --- game characters. With the continuous updating of online game themes, the character image-shapping of online game characters has been changed from standard and single human characters to various kinds of character images. With the using of various kinds of weird monsters in European and American online games, monster characters became popular in online games. The monster characters in online games are with special and novel images. What’s more, monster characters can provide online game players with fancy and exciting game experiences. Monster characters can not only add more color to the virtual space of online game, but also can inspire more entertainments for game players. When the theme and style of online games become more and more, the images of game characters become more diversified. Though as human beings, we are more familiar to taking humans as the main characters of online games, we should be more imaginative in the virtual and fantastic space of online game to create some novel and interesting elements for players. For instance, the characters of game can be designed from different races, with different skills and natures, etc. in this way, players have more different choices. Moreover, the main characters of the game may be not always humans. Outstanding game characters can not only be loved by players from the aspect of visual experience, but also improve the interest of players in playing the game. Game characters play a very important role in online games, which is one of the standards to determine whether the game is successful or not. The design of game character is a great project that may take long time to think and colorful imagination to complete. From determining the theme to completing rich character images, there are so many things should be done. In general, the design of game character consists of appearance and internal aspect. From the aspect of the appearance of game character, the appearance of a game character should be attractive. For instance, most female players love colorful and beautiful characters and most male players love martial and powerful characters. Therefore, the design of character’s appearance should consider such factors as image, shape, color, decoration and size, etc. from the aspect of inner aspect of game characters, associated game background of game characters should be designed, such as the personality, race, nature, skills and living situation of the characters. Outstanding game characters should be excellent in both external and internal aspects. At present, more and more monster images are used in films and animations. Monster characters are also adopted in online games. Moreover, monster characters are designed as the main characters in games. For instance, World of Warcraft (WOW) and League of Legends (LOL) and many other games are favored and highly praised by players. In the future, monster characters will be adopted in online games continuously. Therefore, both the design and the adoption of monster characters in online game should be thought carefully by game designers. There are many kinds of monster in human’s thoughts. Some are from legends and some are from fictions. Thought the themes are various, there is no tangible reference for monsters. Therefore, when design the appearance of monster characters, designers should combine imagination with realities. They should develop characters with their own imagination and matters existing in the real world. Today, with the continuous development and improvement of network and science, online game industry is with great development potential. There will be more outstanding online games and game characters in the future. In the future online game, the design of monster characters will be more novel and creative, with the hope that monster characters can increase the creativity and charm of online games. As a result, players can have a good swim freely and experience new and more happiness in the virtual space of game.

대전격투게임 동아시아 여성캐릭터 ‘아시아성’이 플레이어의 지속적 사용의지에 미치는 영향

왕사립 전북대학교 일반대학원 2023 국내박사

This study examined Asianness as discussed in game studies and proposed its implications to study East Asian female characters. It further analyzed the impact of the "Asianness" design element of East Asian Female Characters on players' will to continue playing from the perspective of gamers in the fighting games, while providing possible solutions for improving the game characters. Specifically, the first prior study defines the "Asianness" design elements of East Asian female characters in fighting games. The design elements of East Asian female characters were compiled from the relevant literature, and the content of the design elements and design benchmarks were revised and improved through expert interviews. Then, the evaluation elements of female character design were determined through the experTaal questionnaire. The design elements were combined with the evaluation elements to identify the "Asianness" design elements that game players perceive when using East Asian female characters through exploratory factor analysis. Finally, the "Asianness" design elements were organized into 16 sub-elements. They were further summarized into four main factors, and ranked in importance by normalized weighted coefficient. To verify the validity of the exploratory factors to determine the independence of each extracted elements, the researcher conducted a validation factor analysis. Therefore, it can be concluded that the "Asianness" design elements of East Asian female characters are composed of the "Action Design" element, the "Character Appearance" element, "Costumes and Props" element, and "Personality Charm" element in the fighting games. The second prior study was conducted to determine the elements of gameplay enjoyment and TAM model. Elements such as gameplay enjoyment, perceived usefulness, perceived usability, players' attitudes, and players' continuance intentions were compiled from related literature to explore the relationships between the variables and elements. In this way, key studies, theories, and frameworks were identified to test these concepts and to measure or evaluate players' perceptions or experiences on these design elements. Based on prior study, an empirical study was conducted to examine the impact of "Asianness" design elements of East Asian female characters on the players' attitudes and behaviors in fighting games. The external factors influencing players' attitudes and behaviorer's will were investigated by TAM, which was set as the "Asianness" design element of the character. The study has two main contributions: first, the first half of the TAM model was explored to understand the influence of "Asianness" design factors of East Asian female characters on users' perceptions. Second, the second half of the TAM model is explored, namely the effect of user perceptions on attitudes and intentions. In the empirical study, its former part was to integrate the elements of the prior study into a test questionnaire, modifying and refining the questionnaire based on feedback from a small number of testers. Its latter part confirmed the element interactions of the gameplay enjoyment, perceived usefulness, perceived usability in the relationship between the character design elements' effects on players' attitudes and sustained will through the final questionnaire. As there is no path model of the causal relationship of East Asian female characters on players' attitudes and will to use in the relevant literature, the researcher presented a relevant structural equation model. The questionnaire are completed by the gamers after playing the game for 8 minutes, allowing the players to complete the questionnaire more accurately and intuitively for the improved accuracy and validity of the questionnaire. The structural equation (Smart PLS) proposed by the study was analyzed by direct effect analysis and indirect effect analysis to obtain the final analysis data. The empirical study results proved that 16 of the 18 hypotheses were valid, and two invalid. The path analysis results of the structural equation show that the four "Asianness" design elements cannot directly influence players' attitude and will to continue playing, but affect through indirect effects. The numerical coefficients of indirect effects that indirectly affect players' attitudes and will to continue playing are ranked as follows: Action Design in the first place, Personality Charm in the second place, Character Appearance in the third place, and Costumes and Props in the fourth place. In the process of game character design, game designers and publishers should improve and prefect the design elements of the character according to the importance ranking of the 4 design elements and specific content items. Taking the Action Design element with the highest effect value as an example, game designers should prioritize the character's action design elements, including preparation action, hitting action, unique skill, celebration action after K.O., balance setting of attack power, etc. The action design features the "Asianness" design characteristics, while integrating with game gameplay to enhance players' gaming experience (combat experience). Therefore, Action Design has become the first design element. Personality Charm element is ranked second in terms of its effect value. Game designers are therefore required to consider the player's perception and feeling of the character as a whole, especially the performance of the character's overall personality, temperament, and charm. Character Appearance element is ranked third in terms of its effect value. Game designers are therefore required to consider the player's perception of the character's "Asianness" design appearance, including ratio of the head and body, Body Type, eye, nose, mouth, skin color, hair color, hair style, muscle and others. Costumes and Props element is ranked third in terms of its effect value. Game designers are therefore required to consider "Asianness" style characteristics of players' costumes and props. It covers clothing style and decorative patterns, tattoos, national style, colors, and the traditional nature of props and weapons. See Section "5.2" of this paper for its detailed design recommendations. The study is intended to contribute to the prediction and enhancement of players' will to continue playing by examining the impact of "Asianness" design elements of East Asian female characters on players' attitudes and Continuance Intentions in fighting games. It also verifies that character design is an important intrinsic factor in enhancing gaming experience and intentions of the players. It is hoped that this study will contribute to the existing research on game characters and suggest improvements for designers of fighting games to more effectively improve players' attitudes and behaviors will to play games. 本研究审视了游戏研究中出现的关于“亚洲性”的讨论,提出了“亚洲性”对东亚女性角色研究的意义。进一步从游戏玩家的角度,分析在对战格斗游戏中东亚女性角色的“亚洲性”设计要素对玩家持续使用意志影响的问题,并提出了可行性的游戏角色改善方案。 具体来说,首先先行研究的第一个研究,定义了对战格斗游戏东亚女性角色的“亚洲性”设计要素内容。然后整理相关文献中东亚女性角色的设计要素,并经过专家访谈修改完善了设计要素的内容和设计基准。其次,通过专家问卷确定了女性角色设计的评价要素。将设计要素与评价要素进行结合,通过探索性要因分析,确认了游戏玩家在使用东亚女性角色时所感受到的“亚洲性”设计要素。最后,整理出来的“亚洲性”设计要素,由16个下位要素组成,并进一步概括为4个主要因素,通过归一化权重系数(Normalized Weights Coefficient)对四个上位要因进行了重要性排序。为了验证探索性要因的有效性,以确定提取的要素各自独立,研究者进行了验证性因子分析。因此,可以得到结论为,对战格斗游戏中东亚女性角色的“亚洲性”设计要素由“动作设计(Action Design)”要素,“角色外观(Character Appearance)”要素,“服装和Props (Costumes and Props)”要素,“个性魅力(Personality Charm)”要素组成。 先行研究的第二个研究,确定游戏乐趣、TAM模型中的要素内容。整理了相关文献中游戏乐趣、感知有用性、感知易用性、玩家态度、玩家持续使用意志的要素,发现各变量、要素之间的关系,确定检验这些概念的关键研究、理论和框架,用于衡量或评估玩家对这些设计要素的看法或经验。 在先行研究的基础上,对战格斗游戏东亚女性角色“亚洲性”设计要素对玩家态度和行为的影响进行实证研究。采用TAM来调查影响玩家态度和行为意志的外部因素,外部因素设定为角色的“亚洲性”设计要素。研究的主要贡献是两个部分:第一,探讨了TAM模型的前半部分,以了解东亚女性角色的“亚洲性”设计因素对用户感知的影响。第二,探讨了TAM模型的后半部分,即用户感知对态度和意图的影响。 实证研究第一部分是将先行研究的要素整合为测试问卷,通过少量测试者的反馈信息,修改完善问卷。实证研究第二部分,通过最终问卷确认游戏乐趣、感知有用性、感知易用性要素在角色设计要素对玩家态度和持续意志影响关系中的相互作用。由于相关文献中还没有东亚女性角色对玩家态度和使用意志的因果关系的路径模型,因此研究者提出了相关的结构方程式模型。游戏玩家在玩8分钟游戏之后完成问卷,可以让玩家更加准确直观地完成问卷,以提高问卷的准确率和有效性。研究所提出的结构方程式(Smart PLS) 通过直接效应分析和间接效应分析,得到最终的分析数据。实证研究结果证明了18个假设中,有16个假设有效,2个假设无效。 从结构方程的路径分析结果来看,“亚洲性”4个设计要素并不能直接影响玩家的态度和持续使用意志,而是要通过间接效应来产生影响。间接影响玩家态度与持续使用意志的间接效应数值系数排名如下:第一是动作设计(Action Design),第二是个性魅力(Personality Charm),第三是角色外观(Character Appearance),第四是服装和Props(Costumes and Props)。在游戏角色的设计过程中,游戏设计师和发行商应根据4种设计元素的重要性排序和具体的内容项目,对角色的设计要素进行改进与完善。例如,动作设计(Action Design)要素的效应值最高,游戏设计师要优先考虑角色的动作设计要素,这里包括准备动作、击打动作、必杀技和K.O后庆祝动作、攻击力的平衡设置等,动作设计不仅具有“亚洲性”的设计特点还要与游戏玩法相结合,增强玩家的游戏体验(格斗体验)。因此动作设计成为第一位设计要素。个性魅力(Personality Charm)要素的效应值排名第二。因此游戏设计师需要考虑玩家对角色整体的感知与感受,特别是角色整体个性、气质、魅力的表现。角色外观(Character Appearance)要素的效应值排名第三。因此游戏设计师需要考虑玩家对角色“亚洲性”设计外观的感知,包括头身比、Body Type、眼睛、鼻子、嘴、肤色、发色、发型、肌肉等表现。服装和Props(Costumes and Props)要素的效应值排名第三。因此游戏设计师需要考虑玩家对角色的服装和Props的“亚洲性”风格特点。包括服饰风格和装饰图案、纹身、民族风格、颜色、Props与武器的传统性等。详细的设计建议参阅本论文“5.2”节。 本研究的意义在于通过研究对战格斗游戏中东亚女性角色的“亚洲性”设计要素对玩家态度和持续使用意志的影响,为预测和增强玩家玩格斗游戏的持续使用意志做出了贡献。同时也验证了角色设计是提高玩家游戏体验和意图的重要内在因素。希望通过本研究可以对现有游戏角色研究进行补充,为对战格斗游戏设计师提出改进建议,从而更有效地提高玩家玩游戏的态度和行为意志。

중국 고문자에 나타나는 건축적 요소에 관한 연구

오종열 연세대학교 공학대학원 2003 국내석사

중국의 문자는 문화의 성장에 따라 적어도 삼천년 이상의 역사를 가지고 있다. 건축물은 문자보다 일찍 문화를 형성하였고, 이를 기록한 기원이 상형자인것이다. 본 연구에서는 중국문자의 생성원리와 변천과정을 살펴보고, 이러한 상형자에 나타나는 건축요소 문자들이 어떤 것이 있으며, 또한 건축언어의 구성과 의미를 분석하여 본질적인 의미를 재조명 하려 하였다. 먼저 고대 문자의 발생 및 배경과 고대문자의 변천 과정속에서 상형자인 갑골문과 금석문의 역사적 의미를 살펴보았으며, 고대문자의 건축 관련 기본구성 요소를 고찰하였다. 이는 상형화된 건축요소, 건축물이 상징된 건축요소, 건축물적 의미로 전환된 요소, 자연과 관련된 요소 및 건축재료와 관련된 기본요소들로 분류하여 이들의 생성원리와 변천과정을 파악해보았다. 이를 바탕으로 한 건축 관련 문자의 구성과 의미를 건축물을 지칭하는 문자, 건축물의 부분을 나타내는 문자, 건축재료와 관련된 문자, 자연환경과 관련있는 문자, 건축행위와 관련된 문자로 분류하여 이들의 상형자속에서의 본질적 형태, 의미가 어떻게 적용되었는지를 확인하여 보았다. 이러한 결과로 건축과 가장 밀접한 상형요소를 '□'과 '□'으로 압축시켰으며, 이들 요소들의 상형자와 그 이후에서 현존하는 문자들을 발췌 분석하여 다음과 같은 결과를 얻을 수 있었다. 첫째 : 건축물과 관련된 기본 요소들이 존재한다는 것이다. 건물의 형태나 자연속의 주거공간을 상형화하여 거주공간의 의미로 활용되었으며, 일부는 아무런 의미 없이 건축물의 상징된 형태만 본 뜬 요소들도 사용되었다. 하지만 의미가 없이 형태만 가진 요소들은 뜻이 동반될 수 없어 점차 건축물과는 연관성이 없어져 버린다. 둘째 : 건축물과 관련된 기본 요소들 중에 가장 현재까지 주거 건축과 가장 밀접한 것은 면(□)과 엄(□)이 있음이 조사되었다. 면(□)은 상형문자 속에서 정주(定住)공간의 요소가 강하여 현재까지도 상형의 의미가 지속되어지고 있으며, 가장 건축물과 직접적인 연관이 있는 문자요소로 사용된다. 이를 살펴보면 면(□)요소는 갑골문과 금석문에서 건축관련 문자 중에 회의문자가 11字, 형성문자가 9字로 총 20여 字, 전서체 이후에는 약 32字에 이르러 총 52字가 현재까지 사용되고 있다. 반면에 엄(□)은 상형자에서는 거주공간 개념의 의미로는 빈약하게 사용되었으나, 전서체 이후에는 건축요소의 의미가 역동적인 내·외부 공간에 다양한 목적으로 활성화되어 건축물과 관련된 용어로 폭넓게 발전되어졌다. 갑골문과 금석문에서 회의문자가 3字, 형성문자가 10字로 총 13字 만이 현재에 이르고 있으나, 전서체 이후에는 96字에 이르러 점차 다양하고 폭넓게 건축 관련 요소로 주된 역할을 하였음을 알 수 있다. 셋째 : 건축과 관련된 요소는 상형자인 갑골문과 금석문에서 단순히 제사, 전쟁, 수렵, 여행, 질병, 풍우, 길흉화복 및 자연현상 그리고 인사(人事)를 기록한 그림에 가까운 것이다. 문자요소의 의미보다는 행사의 도구 또는 소품으로의 건축물을 나타냈으나 춘추전국시대 진나라 이후 정립된 전서체 에서는 상형자에 사용되어진 요소들을 문자체계로 정립시켜 다양한 의미의 문자들로 발전시켜 사용하였다. 이러한 사례로 상형문자 및 금석문자에 사용되어진 집의 의미자는 '□' 요소가 9字, '□' 요소가 3字 뿐이었고, 전서체 이후에는 '□' 요소문자가 4字, '□' 요소에서는 집의 의미자가 36字나 되어 다양하고 폭넓게 발전되었다. 이는 정주공간은 고정되었으나 목적공간으로서의 건축물은 문화의 다변화에 대응하여 다양한 형태로 발전되어졌음을 알 수 있다. 이와 같이 중국 고문자에서 나타나는 건축적 요소는 상형문자에서 비롯되어져 현재까지 사용되어지고 있으며 현존하는 건축문자요소의 의미를 인지하여 분석할 수만 있다면 역사속의 건축문화의 본질적 의미를 파악할 수 있지 않는가 판단해 본다. Chinese characters have history over 3,000 years according to the growth of Chinese culture. The buildings earlier formed the culture than the characters, and hieroglyph is originated from recording them. This research aims, first, to study the formation principles and change process of Chinese characters and trace the characters with architectural elements in hieroglyphic characters, and, then, to reconsider the essential meaning through the analysis on the structure and meaning the architectural language. Firstly, the inscriptions on bones and tortoise carapaces and the inscriptions on stone monuments, which are included in hieroglyphic characters, are investigated in historical meaning from the origin of ancient characteristics through their change process, and, in particular, the basic elements of ancient characters related to architecture are considered. The elements are classified into the architectural elements represented as hieroglyphic characters, the architectural elements symbolizing structures, the elements converted to the structural meaning, the elements related to the nature and the elements related to architectural materials to understand the generating principles and change process. Next, on the base of above results, they were further classified into the characters representing a structure itself, the characters representing the part of a structure, the characters related to architectural materials, the characters related to the natural environment and the characters related to architectural actions, and, then, it was identified how their essential forms and meanings are applied to hieroglyphic characters. As a result, the closest hieroglyphic elements to architecture were compressed to '□' and '□'. The following could be drawn through excerpting and analyzing the hieroglyphic characters including them and the presently existing characters. First, it can be said that there are some fundamental elements related to structures. The hieroglyphic characters representing the form of a structure or the residential space in the natural environment are applied as the meaning of a residential space, and some of them use the elements employing only the symbolized form without meaning. However, the elements with only form cannot include their architectural meaning, but gradually lose the relationship with structures. Second, among the fundamental elements related to structures, "□" and "□" are investigated most closest connected with residential buildings. "□" has the hieroglyphic meaning continuously up to the present, because it is a strong element of residential space. It also is used as the character element most directly connected with structure. The element of "□" was used in a total of 20 characters including 11 of 'Hoieuimunja' and 9 'Hyeongseongmunja' among the characters related to structures of the inscriptions on bones and tortoise carapaces and the inscriptions on stone monuments, and a total of 32 characters after Jinseo-style. Therefore, 52 characters are used presently. On the other hand, "□" was used not frequently in terms of representing a residential space in hieroglyphic characters. After Jeonseo-style, however, it has had the various meanings of the architectural element including both outside and inside of building space to be developed widely as a term related to structures. Among the inscriptions on bones and tortoise carapaces and the inscriptions on stone monuments, only a total of 13 characters including 3 of 'Hoieuimunja' and 10 'Hyeongseongmunja' remains up to the present, but after Jeonseo-style they were expanded to 96 characters, which shows its role has become extended and various as the main element related to structure. Third, in the inscriptions on bones and tortoise carapaces and the inscriptions on stone monuments, the architectural elements are similar with pictures recording sacrificial rites, war, hunting, fishing, traveling, disease, rain and wind, destiny, natural phenomena and human affairs. They did not had the meaning of letter, but represented structures as a tool of events. In 'Jinseo-style', which was established in the Age of the Confucius and Warring States, formulated the system of architectural elements in hieroglyphic characters, and applied them as the developed characters with various meanings. As these cases, the characters meaning housing, used in hieroglyphic characters and the inscriptions on stone monuments, were the 9 of '□' element, and the 3 of '□' element, but they have been developed variously and widely into the 4 of '□' element, and the 36 of '□' element. This shows that the residential space has been fixed, but structures as an objective space have been developed to diverse forms to cope with the diversification of culture. The architectural elements shown in ancient Chinese characters are originated from hieroglyphic characters, and used up to the present. It is able to be concluded that the essential meaning of architectural culture in history can be grasped, if the meaning of the existing architectural character element is recognized and analyzed.

'긍정 심리학' 기반한 Animation Character 디자인 연구

진엽 전북대학교 일반대학원 2023 국내박사

本文基于“积极心理学”、艺术治疗与情感阶层理论多学科融合分析动画电影角色设计要素,以本能层、行为层、反思层为研究对象解析了动画电影角色视觉设计要素、行为设计要素、内容设计要素。期待通过提出增加积极心理学、情感阶层理论与动画电影角色设计多学科融合的建议,帮助设计师提高设计制作积极动画角色形象效率,增加动画心理学研究案例;帮助青少年观众更好的生活、积极面对生活中困境。 研究者通过先行研究,了解了积极心理学理论、艺术治疗理论、情感阶层理论,定义了积极动画角色设计。通过调查和采访,整理了动画电影用户对角色设计的新要求,并定义了动画电影用户在观看动画时体验到的感性情感。通过AHP分析法,确认了动画用户感受到的动画角色设计要素由二十二个下位要素组成,并压缩为三个层级、六个主要素。为验证三个层级、六个主要素的结构是否恰当,研究者进行了确定性要因分析。而后,对要素的有效性进行了验证,确定了提取的要素是各自独立的。因此,可评估积极动画角色感性设计的要素分为“本能层”要素、“行为层”要素、“反思层”要素。先行研究表明,需要对六个主要元素中的“角色性格”要素进行更详细的研究,而“观众的积极心理体验”要素也是需要进一步研究的要素。 通过先行研究的结果,本研究选取了“角色性格”要素和“观众的积极心理体验”要素作为实证研究课题。 首先,进行了社会研究,了解在(COVID-19)爆发的三年中,全球居民的心理状态。经过分析得出,青少年在疫情期间受到的心理冲击最大,焦虑和抑郁程度显着增加。抑郁症在全球致死率居高不下且呈现持续增长的状态。而积极心理学(PERMA理论)是一种以积极心理学为指导的心理治疗方法。在全球有许多焦虑和抑郁症患者通过PERMA疗法调整了思想和行为得到治疗。而心理疾病的羞耻感和疫情期间的出行不便、不安全性以及医疗资源的匮乏,使得很多抑郁症患者无法得到妥善的治疗和照顾。而艺术治疗的轻松性与氛围感为很多抑郁症患者提供了新的治疗方式,且有趣愉悦的治疗方法让很多抑郁症患者避免了耻辱感,愿意积极接受治疗。而由于网络与数字媒体传播的普及,在疫情期间动画电影可以更方便更快捷的展示自己的优势,设计制作拥有积极感性的动画角色,帮助青少年在观看动画电影同时,缓解自己的心理压力,增加面对生活的信心。 动画电影的“角色性格”要素实证研究,考察了当前全球票房前十和获得了动画行业4个大奖的动画电影,对动画角色分析表明,尽管‘Spider-Man: Into the Spider-Verse’拥有在同一部动画电影中最多蜘蛛侠衍生角色和成功的票房与口碑,但观众对角色性格喜爱度差异仍然明显。因此对动画角色性格形成环境进行分类,如果动画角色性格形成环境具有积极向上的能量,观众的喜爱度最高。角色性格形成环境具有争议,观众喜爱度一般。角色性格形成环境负面且无趣,观众喜爱度低。为了测量出最佳动画角色性格形成环境用户喜爱度,根据用户满意度、动画角色设计原理、心理学社会人格形成理论设计了用户问卷。 为了了解“观众的积极心理体验”值和青少年用户喜爱度差异水平是否受到影响,设计了满意度结构模型和假设验证。根据调查结果,动画电影角色用户偏爱度研究的5个组成部分值存在差异。 在先行研究的基础上,对动画电影角色设计现状进行了考察和分析,以改进“观众的积极心理体验”要素。了解了动画电影用户的喜爱度和对角色性格差异性要求。随着生活的发展、疫情到来以后,人们对动画角色的需求不仅仅是视觉上的,而是期望通过动画角色体验不同的生活和心理慰藉。 但是到目前为止,还没有研究系统的将心理学与动画电影角色作为路径设计了角色模型。 因此,为了研究积极动画角色感性设计,综合了前两次的研究后,加入了积极心理学、情感层次理论为动画角色设计了模型。为了获得准确的考察青少年用户在与角色共情过程中的感性情感体验结果。首先进行了专家问卷和专家访谈,根据AHP分析法设计了角色设计模型,并通过权重计算得出二十二个元素的权重占比,权重占比越大元素越重要,为设计师节约时间提高了效率。再通过青少访谈和问卷,测试模型的准确性和实用性。了解不同年龄、不同学历青少年对动画电影角色设计的差异性态度。通过以上研究发现,学历层次越高的青年用户对动画角色设计需求有明显的差异性态度和行为。结果证明学历越高的青少年用户对积极的心理体验和视觉要素要求越高。 This paper analyzes the perceptual elements of character design in animated films based on the multi-disciplinary integration of “Positive Psychology”, Art Therapy and Hierarchy Theory of Perceptual Design, and analyzes the formal design elements, behavioral design elements and content design elements of characters in animated films by studying the instinctive layer, behavior layer and reflective layer. It is hoped to help designers improve the efficiency of creating positive animated characters, increase case studies of animation psychology, help the teenage audience live a better life and positively face the dilemma in life through putting forward the suggestion on multi-disciplinary integration of Positive Psychology, Art Therapy, Kansei Engineering and Character Design for Animated Films. Based on the prior research, researchers understood the Positive Psychology Theory, Art Therapy Theory and Kansei Engineering Theory, and defined the sensibility design of active animated characters. Through the investigation and visit, they sorted out the new requirements of animated film users for character design, and defined the perceptual emotions experienced by animated film users when watching the animation. Through the Analytic Hierarchy Process, they determined that the design elements of animated characters experienced by animated film users are composed of twenty-two lower elements, which are compressed into three levels and six main elements. In order to verify whether the structure of three levels and six main elements is proper, researchers performed a deterministic factor analysis. And then, they verified the effectiveness of elements and determined that the extracted elements are independent separately. Therefore, the elements that can evaluate the perceptual design of positive animated characters can be divided into the “instinctive layer”, “behavior layer” and “reflective layer”. The prior research indicates that the “character personality” in the six main elements shall be studied in more detail, and the “positive psychological experience of the audience” shall also be further studied. Based on the results of the previous research, this study selects the elements of "character" and "the audience's positive psychological experience" as empirical research topics. Firstly, this paper conducted the social research to know the psychological states of inhabitants all over the world in the three years of COVID-19. Through the analysis, it can be drawn that adolescents suffered the greatest psychological impact during the epidemic, with a significant increase in anxiety and depression. The global mortality rate of depression is high and rising. Positive psychological intervention (PPI) is a kind of psychotherapy guiding by Positive Psychology, and many people suffer from anxiety and depression are treated with PPI therapy that modifies their thoughts and behaviors around the world. Many patients with depression cannot receive proper treatment and care due to the stigma of mental illness and the inconvenience, insecurity and lack of medical resources during the epidemic. The relaxation and atmosphere of Art Therapy provide a new treatment for many patients with depression. Moreover, many patients with depression avoid the sense of shame due to the interesting and pleasant treatment method and are willing to accept the treatment. Due to the popularization of Internet and digital media, animated films can show their advantages more conveniently and quickly during the epidemic. The design and production of animated characters with positive sensibility can help teenagers relieve their psychological pressure and increase their confidence in life while watching animated films. An empirical study on the “character personality” of animated films is conducted to investigate the current top 10 grossing animated films worldwide and those that have won four awards in the animation industry. The analysis of the animated characters shows that although the Spider-Man: Into the Spider-Verse has the most spider-man spin-off roles as well as successful box office and word of mouth in the same animation film, there are still obvious differences in audiences liking for characters. Therefore, the first research of the personality of the animated character is to classify the environment in which the personality of the animated character is formed by using Herlock Effect. If the environment has positive energy, the audience will like it the most. If the environment is controversial, the audience will like it moderately. If the environment is negative and boring, the audience will like it less. In order to measure the user preference of the environment in which the best personality of the animated character is formed, a user questionnaire is designed according to the user satisfaction, the design principle of animation characters and the theory of psychological social personality formation. The second research of animated characters is to design the satisfaction structure model and hypothesis verification to know whether the value of “positive psychological experience of the audience” and the differences in liking among teenage users are affected. According to the findings, there are differences in the values of five components of the research on user preference of animated film characters. Therefore, it is concluded that the perceived quality has the greatest influence on user satisfaction through multiple regression equation, which is the key factor affecting user preference for animated film characters. The relationship between perceived quality and user expectation is the secondary key factor affecting user preference for mythological characters in animated films. The impact efficiency of perceived value and perceived quality, user loyalty on perceived quality, and user satisfaction on animated film characters are the same. The impact of user loyalty on perceived value is minimal compared with the other four factors. Based on the prior research, this paper investigated and analyzed the current design situation of animated film characters to improve the “positive psychological experience of the audience” and know the affection degree of animated film users and the requirements of character difference. With the development of life and the arrival of the epidemic, people's demand for animated characters is not only visual, but expect to experience different emotional life and psychological comfort through animated characters. But up to now, no research has systematically designed character models by taking psychology and animated film characters as paths. Therefore, in order to study the perceptual design of positive animated characters, Positive Psychology and Kansei Engineering were added to design models for animation characters after combining the previous two studies. In order to obtain accurate experience results of perceptual emotion of teenagers users in empathizing with the character, expert questionnaire and expert interview were conducted firstly. The basic character design model was designed according to AHP, and the weight ratio of twenty-two elements was calculated, the greater the weight ratio, the more important the element, which saved time and improved efficiency for designers. And then, the accuracy and practicability of the model were tested through interviews and questionnaires with teenagers to understand the different attitudes of teenagers of different ages and educational backgrounds towards character design in animated films. It can be found from the above research that the younger users with higher educational level have significantly different attitudes and behaviors towards the design of animated characters. The results show that teenagers with higher education have higher requirements for positive psychological experience and visual elements.

TV 프로그램 속 영상자막(Visual Characters)의 활용 및 표현에 관한 연구

이명진 건국대학교 디자인대학원 2008 국내석사

현대사회의 사람들은 방송과 함께 많은 시간을 보내고 있으며 텔레비전 시청은 우리 생활에 있어 빼놓을 수 없는 중요한 부분을 차지하고 있다. 현대사회에서의 텔레비전은 가장 대중적이며 파급 효과가 큰 커뮤니케이션(Communication)의 매체이며 그 영향력은 절대적이라고 할 수 있다. 그러나 삶의 질이 향상될수록 점점 더 다양해지는 커뮤니케이션 매체들 속에서, 시청자들은 더 재미있는 방송을 보기 원하고 제작자들은 그 열망을 따라가기 위해 고심하며 시청자의 시선을 끌 수 있는 TV 프로그램을 만들기 위해 경쟁한다. 그 경쟁 장치의 일환으로 사용되기 시작한 것이 TV 영상자막이다. TV 영상자막은 충분히 시청자의 주의를 끌고 도움이 되며 다양한 유형의 프로그램들이 그 나름대로의 성격과 주제를 시청자들에게 어필하는데 긍정적인 역할을 하고 있다. 이런 이유로 TV 프로그램에서의 영상자막의 비중은 점점 더 커져 지금은 그 수치를 파악하기 힘들 정도로 그 양이 많아졌다. 영상자막은 정보전달의 보조수단이나 불완전한 오디오를 보완하는 보조 장치에서 1990년대 중반 이후 방송제작의 빼놓을 수 없는 구성요소로 자리 잡게 되었으며, 이제는 TV 그래픽의 한 영역으로 당당히 자리 잡아 커다란 발전을 이루고 있다. 현재 영상자막은 다양한 글자체, 화려한 색채와 효과, 이미지, 움직이는 영상으로까지 변화하며 창조적인 디자인으로 TV 영상미학의 한 부분을 이룩하고 있다. 이러한 배경에 따른 본 연구에서 살펴본 바를 요약하면 다음과 같다. 첫 번째로 TV 영상자막이 시작된 등장배경부터 살펴보았다. 문화예술사가 시대적인 요구와 기술에 깊은 관련을 가지고 이어져 왔듯이 TV 영상자막 역시 시대의 요구와 TV 방송의 기술적 변화에 의해 등장하였으며 발전해 왔다. 두 번째로 TV 영상자막의 개념에 대해 살펴보았다. 영상자막은 이제 단순 문자가 아닌 TV 그래픽 영역으로 분류되었다. 문자를 TV 화면 위에 올린다는 뜻으로 사용했던 ‘자막’이 아닌 다양한 기능 및 각양각색의 디자인과 효과로 TV 영상에 대한 몰입도를 높이며 부족한 부분을 메우기 때문이다. 세 번째로 TV 영상자막의 기능 및 특징에 대해 살펴보았다. 기본적인 정보를 제공하고 들리지 않는 오디오를 보완하는 기능에 그쳤던 ‘자막’과 최근 들어 TV 프로그램에서 사용되는 ‘영상자막’은 서로 다른 기능과 의미를 가진다. TV 영상자막의 종류와 기능은 크게 확대되었으며 이는 TV 화면 안에서 영상자막의 기능이 변했다는 것을 뜻한다. 영상자막이 정보의 제공이나 오디오 대체 수단이 아닌 시청자들을 프로그램에 몰입할 수 있게 하는 기능을 한다는 것이다. 또한 연출자와 시청자간의 오해의 간격을 좁혀주는 역할과 영상자막 자체가 아름다워 시선을 끄는 심미적 기능까지 포함한다. TV 그래픽에서 영상자막의 심미성은 점점 중요한 요소로 부각되고 있다. 마지막으로 영상자막의 디자인과 기능의 구체적인 활용과 송출 등 다양한 요소들에 관해 알아보고, 영상자막 디자인이 실제 방송에서 프로그램 유형별로 나타나는 표현방법은 어떠한지를 분석해 영상자막의 역할에 대해 알아보았다. 이 연구들을 토대로 나타난 결과는 다음과 같다. 첫째, 다양한 영상자막의 서체 중 프로그램과 영상의 성격을 제대로 나타낼 수 있는 최적의 글자체 선택이 중요하다. 둘째, 영상자막 디자인 시에 가독성과 미적기능이 동등하게 균형을 이뤄 작용해야 효과적이다. 셋째, 영상자막 디자인은 TV 프로그램의 고유한 아이덴티티(Identity)를 살릴 수 있는 것이어야 한다. 마지막으로, TV 영상자막 디자이너는 가장 영향력 있는 TV 매체의 주요 정보와 미적 욕구를 충족시켜줄 수 있는 영상자막 제작을 위해 기술적 역량을 키워야 한다. 본 논문은 TV 영상자막에 대한 심층적인 이해와 디자인적으로 어떤 기능을 하는지와 그 역할이 얼마나 중요한 것인지 파악하여 현재 우리나라 TV 프로그램에서의 영상자막에 대한 평가와 함께 영상자막의 디자인적 가치를 정립시켜 TV 영상자막이 나아가야 할 올바른 방향에 대해 제시해 보고자 했다. 연구를 통해 시청자들에게 좋은 디자인으로 재미있는 볼거리를 제공하며, TV 프로그램의 성격을 담아낼 수 있는 TV 영상자막을 디자인하기 위해서는 끊임없는 연구가 필요하다는 것을 알았다. TV 영상자막은 주변적 요소가 아닌 중심적 요소로 작용할 수 있다고 할 수 있을 정도로 우리나라 TV 프로그램에서 중요한 역할을 하고 있으며, 특히 영상자막의 활용이 뛰어난 프로그램은 시청자의 눈을 사로잡고 있다. 따라서 이제는 TV 영상자막이 시청자를 수동적 존재로 만들고, 무차별적인 남용과 부적절한 언어 사용으로 TV 화면을 어지럽힐 수 있다는 등의 비판보다는 시청자들을 만족시키며, 앞선 디자인으로 프로그램의 질을 한 차원 높이는 데 기여할 수 있도록 노력해야 할 것이다. People actually spend a lot of time with broadcasting, and seeing and hearing TV is occupying an important part of not being omitted in our life. In the modern society, TV(Television, TV)is the most popular and a high ripple effect communication media, and its influence can be said to be absolute. However, as being improved the quality of life audience, among communication media and internet or cable TV that become a little more variable, wants to watch something more interesting, while producers are in agony to follow that desire and compete to produce the program that can attract the audience. TV, that is occupied an important position in the ordinary life more than any media cannot but react so sensibly to the social environment. What was started as a part of its competitive device is TV visual characters. The reason is because the application of TV visual characters sufficiently attracts the audience and gives its help, and various kinds of programs can perform positive role in appearing its own characters and them to the audience. For this reason, the importance of video subtitle on TV programs becomes greater that actually the amount of it was such increased as being hard to understand its value. Also, the role of visual characters become an indispensable component in TV visual characters media from the past supplementary mean of information or the supplementary mean of complementing the incomplete audio, and is being highly developed as a TV graphic field. Actually, it is not only being in varied font, colorful light, even letter but also changed in picture, in animation to complete a part of TV graphic aesthetic with a creative design. What was observed in this paper on such a background based is as following. First, we have observed from the background of appearance that TV visual characters was started. The cultural art institution has been always continued with the deep relation to the technology in that epoch. TV visual characters also has been accompanied with technological change of TV broadcasting. For the second, we have been on the concept of visual characters. Visual characters was classified simply not in letter but TV graphic field. In that meaning, it is correctly called visual characters. It is because it fills the missing part of video by concentrating it in TV image, because it has vary function and design and effect of all kinds not a ‘subtitle’ that meant to put on TV scene. For the third, we have observed on function and characteristics of visual characters. The extension of concept and type of visual characters means that the function of visual was changed in TV scene. Letter, that only delivered the basic information and complemented the audio with no sound, and visual characters, that is used recently in TV programs, have the different function and meaning. It means that visual characters has a function that attaches the audience so that they could be concentrated in the program, not an offer of information or alternative mean. It is acting as narrowing the interval of misunderstanding between producer and audience. And it includes the aesthetic function that attracts their interest, because visual characters is beautiful. The aesthetic function of visual characters is becoming little by little an important element than anything. Fourth, it is necessary to find out the specific usage and sending of the video subtitle's design and its function and so we analyzed the expressing method of video subtitle's design per program type in the real broadcast and found out the roles of video subtitle. The result for the abovementioned research is as follows. First, the apt selection of font is important, which can show the character of program and of image of vary visual characters. Second, when you are doing the video subtitle design, the legibility and aesthetic function should act equally. Third, the achievement of differentiation for the program's video subtitle which has similar contents and theme. Finally, designer of visual characters should have technological ability that complements the main information and aesthetic demand of the most powerful TV media. Also report, which is proceeds on air according its broadcasting specifications, and other entertainment program should finish the work preventing all the possible result considering vary variable, which is the reason to require designer to be craft. The thesis is focused on proposing the right way of our TV video subtitle considering the evaluation and the value of design so that further understanding can be done as well as the functions of TV video subtitle and therefore come to know the importance of its role. We could find out through recent TV image that video subtitles provide the viewers with good design and something for fun and so constant effort is required in the research in order to design the TV subtitle related to the program features and TV image video that is recalled. The application of visual characters was occupied in Korean TV program such that acted as an important clue not secondary one, and especially the program of excellent use of visual characters attracts the audience being accustomed than the other program that is not. Thus we should not only criticize its use because makes the audience a passive existence on the visual characters design, and disorders the broadcasting environment with impartial abuse of subtitle and inadequate language but also be worried so that visual characters could contribute to raise the quality of program and it should be developed in such a direction that it can be used efficiently.

염상섭 소설에 나타난 여성인물 연구 : 1920~30년대 중·장편을 중심으로

안유진 서강대학교 대학원 2003 국내석사

본고는 1920-30년대 중·장편 소설을 중심으로 염상섭이 그려내는 여성인물이 시대적 종차에 따라 다른 특징을 가지고 있음을 살펴보고, 다양한 여성인물들의 모습과 그들을 바라보는 남성인물·서술자의 태도를 통해 여성 인물 형상화의 궁극적 의의를 규명하고자 한다. 염상섭은 동시대 어떤 작가보다 여성에 대한 관심이 높았으며 그러한 관심을 여성 인물 형상화의 특이성을 고찰함으로써 이해할 수 있을 것이다. 이를 위해 Ⅱ장에서는 무엇을 추구하는지에 따라 유사한 특징을 보이는 여성인물을 시간의 흐름을 기준으로 하여 셋으로 유형화하였다. 20년대 초반에 쓰여진 작품에서 여성인물들은 근대적 교육을 통해 근대적 생활감각을 습득하기 시작하는 인물들이다. 이들은 근대적 개인이 되기 위한 협상의 과정을 보이는데 이 때 여성들은 자신이 원하는 것과 자신에게 부과된 사회적 관습 사이에서 끊임없이 갈등하면서 하나의 주체가 되어간다. 특히 작품에서는 돈을 중심으로 연애와 결혼의 문제를 통하여 여성들의 갈등과 내면을 드러내고 있음을 살펴보았다. 다음으로 20년대 후반에 쓰여진 작품에서 여성인물들은 성욕과 물욕에 적극적인 모습을 보인다. 이 경우, 여성의 육체는 돈의 획득을 위한 수단이면서 동시에 성욕의 주체가 된다는 사실이 부각되고 있다. 여성인물이 가지는 개방적인 성의식은 경제적 무절제와 밀접하게 결합하여 부정적인 이미지를 강화시키고 있으며, 여성인물의 비극적 결말에 당위성을 부여한다. 남성인물들과 권위적 서술자는 끊임없이 여성인물에 대하여 비판적인 시선을 견지하고 있다. 또한 성욕과 물욕에 적극적인 여성들이 가지는 특징과 대조되는 특징을 가지는 여성인물이 병치됨으로써 서로의 자질을 강화시키며, 서술자와 남성인물들의 시선 역시 앞의 경우와는 상반된다. 30년대 후반에 쓰여진 작품들의 경우 여성인물들은 공통적으로 일련의 시련을 겪으며 그 시련을 겪기 이전과는 다른 모습으로 변화하는 양상을 보이고 있음을 살펴보았다. 여성인물들에게 부과되는 시련은 남성인물의 배신으로 인한 연애 혹은 결혼의 실패를 계기로 시작되며, 세상물정 모르는 여성인물들로 하여금 냉혹한 현실에 눈뜨게 한다. 그리고 여성들은 과거의 미성숙했던 모습에서 벗어나 성숙한 변화를 보인다. 그런데 여성인물은 부정적 모습을 가지고 있었던 이전의 남성인물과는 대조되는 또다른 남성인물을 만남으로써 자신의 성숙을 가시화하고 있다는 사실이 주목할 만하다. 이 시기의 여성인물들은, 이전 작품에 나타나는 여성인물들과 달리 서술자와 남성인물들에 의해 상당히 긍정적 자질을 체현하고 있는 것으로 평가되는데 사실상 이것은 남성중심적 사고방식에 위배되지 않고 그들의 질서 속으로 포섭되기 때문에 가능한 것이다. Ⅲ장에서는 2장에서 분석한 내용을 토대로, 염상섭이 그려내는 여성인물이 시대적 종차에 따라 작품 속에서 가지는 위치와 의미가 변화하는 것처럼 보이지만, 실제로는 일관되게 남성중심적인 가치관 속에서 기획되었다는 것에 대해 고찰하였다. 염상섭은 당대에 대한 세밀한 관심을 바탕으로 그것을 객관적으로 소설 속에 형상화하는 데 누구보다 탁월한 능력을 보였던 작가로 평가받는다. 하지만 여성의 문제에 관해서만큼은, 식민지 근대라는 특수한 시대적 배경과 더불어 남성중심적 세계관이라는 염상섭 특유의 주관적인 시선을 고수한 것으로 볼 수 있다. This thesis aims to investigate the different distinctions of female characters according to the historical current in Yom Samg-Seop's novels mainly written in 1920-30, and to examine the ultimate meaning in illustration of female characters described by narrator's attitude such as male characters, especially who are watching them, and other female characters. No other writers were more interested in the matters of women than Yom Sang-Seop in that time and it can be explained by analyzing the technique of illustrating female characters. For this purpose, chapter 2 categorizes female characters, who show the similar distinctions according to what they seek for, into three types of personalities by historical current. Female characters in his works written in early 20s are people who begin to acquire modern life style through modernized education system. They exhibit the process of negotiation in oder to be a modernistic individual and in this moment, they are becoming a subject in their own will through the consistent struggle between what they want and social convention they have to follow. Women's struggle and inner mind are represented especially in the matter of love and wedding related with money. Succeedingly, the female characters show the very active attitude to sexual and materialistic desire in Yom Sang-Seop's works written in late 20s. In this case, it is counted that women's body can be a means to get money and a subject of sexual desire. Women's open sexual moral is closely related with economic immoderation, it intensifies negative images and gives justification to their tragic ending as well as many male characters and powerful narrators keep a critical view consistently to it. Moreover, by juxtaposing the contrasting female characters with the women who have active attitudes to sexual and materialistic desire, their personalities can be intensified from each other and the view of narrators and male characters are as well strikingly different from the former case. The works written in late 30s present the female characters who are differently changed from previous aspects by a series of struggle in common. The struggle, which they have to experience, is originated from the failure of love or wedding by man's betrayal and the innocent women come to open their eyes to harsh reality. In addition, they take off the immaturity of the past and are developed into a matured. But it is counted that by encountering other male characters contrasting from the previous male characters with negative aspects of personality the female characters can visualize their maturity. It can be evaluated that the female characters in this period, different from the women in earlier period, embody very positive aspects of personality. It is reasonable because they are not conflicting with male-centered system of thought and joining with their world of order. Based on the analysis of chapter 2, chapter 3 examines that though it seems that the personality of female characters is changed from the position and meaning according to historical current in works, actually, it is consistently designed in male-dominated value system. The novelist, Yom Sang-Seop, can be evaluated as a great artist who objectively created an outstanding literary world based on the detail technique of the time in his novel. Concerning women's issue, however, it seems that he adhere his distinguished, subjective point of view, which is also male-dominated view of world in the specific historical setting of colony in modern Korea.